The Collectible Doll

Petites Ballet

Cesare Pugni

Biography
Early life and education
Cesare Pugni was born in Genoa.
His early family life is rather obscure, but it seems that his Pugni father Filippo was a clock and watchmaker with, for a time, a successful shop in Via Rebecchino near the Palazzo del Duomo, near Duomo. According to family tradition Pugni surname is the Italian word for fist gained from a noble ancestor of his family fortune and social rank lost and restored his family by working hard "Through his own fists."
Pugni his musical studies began at a very young age. At one point the family Pugni he met the famous composer Peter Winter, whose response to the seven-year-old's first symphony Pugni's brought him to the boy under his wing to take.
Frontispiece of the full score for Pugni's Por una o due Sinfonia Orchestra, edited by F. Lucca. This Sinfonia made a deep impression on Meyerbeer and Glinka. Milan, circa 1830.
It was winter, which arranged for the young Pugni admitted to Milan Imperial Conservatory of Music (now known as the Milan Conservatory). At that time Milan was the capital of the Kingdom of Lombardy-Venice, when part of the Austrian Empire. Since the Milan Conservatory was the territory of the Kingdom known as Lombardy, were the only inhabitants of Lombardy may be admitted as students. With the recommendation of the Winter Pugni the thirteen year old was admitted to the institute in 1814 as a non-Lombard at the expense of the state.
During his instruction at the conservatory young Pugni studied under many noted teachers of music. Among instructors were Pugni Boni Asioli Fazio (17691832), with whom he studied composition and counterpoint; Alessandro Rolla, Niccol Paganini of the instructor, who taught him the violin, and Carlo Soliva, under whom he studied music theory. While still a young student, was given the opportunity Pugni made to several pieces for ballets and operas at La Scala and associated data Theatre La Canobbiana composing and performing his own compositions for violin to fame.
At the request of his family, Pugni was allowed to leave the conservatory in 1822, the "official" reason is continuing illness. In reality The management of La Scala is highly desirable for Pugni be in their work, and since the Milan Conservatory would not allow a non-paying student at the institute to leave without that the completion of his training, Pugni was "officially" said to be sick to admit him free to work for the theater. Pugni then took up residence with Asioli in his home in Correze, where his musical studies under his wing.
La Scala
Not long after leaving Milan Imperial Royal Conservatory of Music, began Pugni playing violin in the orchestra of La Scala and La Canobbiana.
The first documented full-length ballet for which the music was created Pugni Balletmaster Gioja Gaetano Il Castello di Kenilworth, based on the novel by Walter Scott Kenilworth and first presented at La Scala in 1823. Ballet music at that time was often a musical pastiche, and the printed libretto for this work credits and the score is made up of themes derived from "various well-known composers."
Pugni was one of the first composers of the early Romantic period of original scores for the ballet to be created, ie not composed of the airing scores of many composers and / or work. Such a score was written by Pugni for Louis Henry's 1826 ballet Elerz e Zulmida, a score also noted for being among the first compositions for the ballet to the technique of using thread. The success of Elerz e Zulmida approximately three committees of Henry, and soon Pugni was sought by some of the leading choreographers then working in Italy, among them Salvatore Taglioni (Uncle of Marie Taglioni) and Giovanni Galzerani.
Pugni growing popularity as a skilled composer of light, melodic music for dancing was confirmed by the publication of a number Piano reductions of excerpts from his works, among them the popular Scottish dance from his 1837 ballet L'assedio di Calais (The Siege of Calais), which like every one of his works published during his lifetime, sold very well.
Although he showed great talent for composing ballet music, Pugni's real ambition at this time was a composer opera has become. There were occasions where he was tasked with an aria "to order" for several performances at La Scala composing, and encouraged such contracts him to pursue this ambition. In 1831, his opera Il disertore Svizzero, ovvero la nostalgia premiered at La Canobbiana in Milan with his teacher Alessandro Rolla conducting. The work was praised for his versatility and originality, and was honored by fellow musicians of the composer.
It was during this time that a significant number Pugni began composing masses, symphonies and several other orchestral works. A Sinfonia (the Sinfonia per una o due orchester) was scored for two orchestras, both play the same piece, but with an orchestra a few bars behind the other. Pugni was at first reluctant to compose such a piece, but his student at the time, the visiting Mikhail Glinka, encouraged him. The first performance of the Sinfonia por una o due orchester was a great success. This piece so impressed Giacomo Meyerbeer that he was known to keep a manuscript of the work to show his friends a supreme example of the virtuosity in composition.
Such successes include appointment as Maestro al Cembalo Pugni at La Scala. In addition to fulfilling these Pugni tasks also learned the violin and counterpoint as time permitted. Regarding the style and structure, have Pugni's symphonies and concert music has been likened to the typical work of composers from the classical period, such as Muzio Clementi and Haydn.
Pugni two operas for the Teatro Canobbiana scored in 1833 and 1834, both were listened to with great respect. Pugni continued to compose various orchestral works, together earn him much fame and prestige.
Paris
Despite initial success in Pugni in music, just two years after his appointment as Maestro al cembalo, though the prospects collapsed, and he was discharged at La Scala for what seems to have been the misappropriation of funds, probably a byproduct instigated by his notorious passion for gambling and liquor, which had made him a considerable debt amount. In early 1834, Pugni left Milan in an attempt to flee from his creditors.
With his wife and children, Pugni made his way to Paris, where she lived in poverty, while the composer wanted desperately for employment. He worked for a time as the main copyist of famous Thtre Italien, late 1834 where he was reunited with an old friend, the Italian composer Vincenzo Bellini, who at the time was working in the theater to mount an opera I Puritani, while preparing a special version of the work for the Teatro di San Carlo in Naples. Voor production Naples principle soprano role was to be revised for the vocal talents of the Prima Donna Maria Malibran, and since the production of I Puritani Bellini in Paris was occupied by pressure, he called Pugni on the parts of the score that would be presented in Naples copying without change.
Pugni did this, but he also made a second copy of the full score, and then sold the manuscript to the Teatro di San Carlo at a high price. Bellini was soon told that the theater had bought an official copy of the score, and would not need his services. Bellini was crushed, because he had not only paid the Pugni five francs for copying, but also had given him money when needed In order to feed his family, and was often known to not only give Pugni his own unwanted clothes, but his wife begged friends to send their unwanted dresses to Signora Pugni. Bellini wrote in his diary, "It will be a lesson for me. Were it not for his six innocent children, I want him to ruin." Bellini would later recall in an unfinished letter written in 1835 how Pugni's "infamous conduct … shattered my faith in human nature."
In 1836, a Pugni was commissioned by Louis Henry, choreographer of several of his first ballet score, to compose music for the ballet Liacone be produced in Naples for the Ballet of the Teatro di San Carlo. At that time Henry was working at the Paris Opra, the staging of the opera ballet parts of Gioacchino Rossini's William Tell, which Henry used ballet music Pugni L'Assedio di Calais. Pugni then traveled to Naples to help with the dance music for the opera department. Shortly after this, Henry is deceased cholera.
Pugni in 1837 returned to Paris, where he started working for the Casino Paganini until its closure in 1840. He began as a "musical ghost writer" of sorts for the legendary Paris Opra (the theater at that time known officially as the Thtre de l'Acadmie Royale de Musique). Pugni was responsible for editing, correcting and orchestration of almost all the music for the ballets presented on the stage of the theater. Often composers of the era links orchestrations of the copyist or the conductor of an Opera House, and his extraordinary facility at sight reading and scoring, Pugni was often given the task of controlling the compositions of others. A tradition passed down among his descendants concludes that during this time Pugni either composed or arranged all or part of the score Adolphe Adam Giselle, though no evidence known to exist to support this. Pugni served in this position at the Paris Opra from 1836 to 1843, and even made anonymous Pass and additional variations for visiting ballerinas when needed.
It was during this time that Pugni became acquainted with Benjamin Lumleyirector of Her Majesty's Theatre in London. By Lumley Pugni became acquainted with renowned choreographer and Jules Perrothe Balletmaster Theatrehom of Her Majesty's assignments during his as a guest artist at the Paris Opra experienced extraordinary supply Pugni with composition and orchestration. In 1843 Lumley Pugni offered the post of Composer of the ballet music of Her Majesty's Theatre.
Her Majesty's Theatre
Coloured lithograph by J. Branard van Lucile Grahn in the title role of the Perrot / Pugni Catarina. Here Grahn is costumed for the celebrated Only stragtique. London, 1846
Frontispiece of a published piano reduction of the dance from the ballet La truandaise La Esmeralda. 1844
In the autumn of 1843, Pugni to London, and soon enjoyed a renewed period of great success. These were very fruitful year for the composer: the theater between 1843 and 1850 seasons, Pugni produced an impressive series scores for three of the greatest choreographers of that time: Jules Perrot, Arthur Saint-Lon and Paul Taglioni. Not long after his arrival in London Pugni married his second wife, Marion (or Mary-Ann) Linton.
Jules Perrot
During the heyday of the romantic ballet in Her Majesty's Theatre in the 1840s, Cesare Pugni wrote the music for almost every Jules Perrot's ballet. In 1843, produced Perrot Ondine, ou La Naade story of a jealous Naiad in love with an Italian manor fisher the great ballerina Fanny Cerrito. In 1844, Perrot and sustainable produced his most celebrated work, La Esmeralda for the ballerina Carlotta Grisi.
In 1845 alone Pugni produced six new scores, including the celebrated divertissement Pas de Quatre, and the great Oline, ou La Dryade, made for the Danish ballerina Lucille Grahn. Oline Pugni's score contained many famous pieces composed for harp solo written to enhance the dance of Grahn.
In 1846, Perrot produced oriental extravaganza at Lalla Rookhased poem by Thomas Moore of the same nameor Pugni who composed a score filled with pseudo-Arab themes. That same year Perrot Pugni and worked on Catarina, ou La Fille du Bandit for the ballerina Grahn. Such as La Esmeralda, Catarina would become one of the most celebrated works of the 19th century.
During his time in London Pugni composed a large number of additional handy, variations, Divertissements, and occasional dances were often performed as "diversions" during an evening's in the theater. Often the great ballerinas of the romantic ballet performing various tarantulas, polkas, mazurkas, etc. during the breaks of the operas, and Pugni guidance for such dances were often published in piano reduction.
During the late 1840s, and Pugni Perrot traveled to various theaters across Europe for their collaboration platform. In 1845, she staged La Esmeralda La Scala and the Court Opera Ballet in Berlin, where the title role was danced by the great Fanny Elssler. In 1847, and Perrot Pugni mounted Catarina and Lalla Rookh at La Scala. In 1848 Perrot invited at the insistence of Fanny Elssler to La Esmeralda stage for the Imperial Ballet in St. Petersburg, Russia.
Paul Taglioni
In the brief span of their cooperation, Pugni much celebrated scores for Paul Taglioni wrote during his obligations as a guest choreographer at Her Majesty's Theatre. In 1847 alone, four Pugni wrote ballets for Taglioni, including Coralia, ou Le Chavalier unstable and Tha, ou La Fe de fleur. More work followed, including Les Plaisirs de l'Hiver in 1849, and the popular Les Mtamorphoses (also Ella known as Satan) in 1850.
Arthur Saint-Lon
Pugni also left a deep impression on Arthur Saint-Lon, one of the most celebrated choreographers of the era. During the year 1840, Saint-Lon was engaged as ballet master at the Paris Opra Pugni and traveled often to music works by the choreographer to put together. Pugni and Saint-Lon created many successful productions while in Paris, among them, the La Fille Marbré (a revival of Perrot's Alma) in 1847, a revival of La Viva Dire in 1848, a revival of La Violon du Diable in 1849, and Stella in 1850, for which Pugni composed many popular airs in the Neapolitan style.
Russia
In 1849, Jules Perrot and Cesare Pugni traveled to St. Petersburg to La Esmeralda Elssler stage for the ballerina Fanny, who was engaged as a guest ballerina from the Imperial Ballet. While the imperial capital Perrot was offered the position of Premier Matre the ballet to begin in the 1850-1851 season, which he accepted. In this position, Perrot recommended to the Minister that Pugni Court as to accompany him to Russia, He can serve as the official composer of ballet music from the St. Petersburg Imperial Theatres. Until then, St. Petersburg, the composition of the new ballet music usually held fell from the head of the orchestra conductor, who was in this case, Konstantin Liadov. A new position was thus created, Ballet Composer of the St. Petersurg Imperial Theaters for Pugni.
Maestro Cesare Pugni. London. Circa 1843
In the winter of 1850, Pugni severed all ties with London and Paris. He arrived in St. Petersburg with English wife Marion Linton and their seven children. In 1860, Pugni maintaining two households, the first with his English wife, and the second with the Serf wife Daria Petrovna, with whom he fathered eight children before the end of his life.
In the winter of 1861, Anton Rubinstein Pugni hired to teach composition and counterpoint at the newly founded St. Petersburg Conservatory, a position he held with much success and respect until his death.
During his time as prime minister Matre the Ballet of the St. Petersburg Imperial Theatre, Jules Perrot staged many of the works he originally had assembled for Her Majesty's Theatre in London. Unlike ballet companies in London or Paris, the St. Petersburg Imperial Theatres presents full-length ballet presentations, separate from the opera. As Pugni was the author of nearly all of the music for Perrot's work, the composer expanded many of its scores for the Ballet Master production. Under this extended revivals La Naade et le pcheur (The Naiad and the fisherman), a revival of Ondine, ou La Naade in 1851, Oline, ou la Dryade in 1858. Many of Pugni scores recommended instrumental cadenzas for the renowned soloists in the orchestra of the Imperial Theatre, many of whom were members of the nobility and even the imperial family. Besides their revivals of existing works, and Perrot Pugni created several Grands Ballets to, known among them, La Guerre des Femmes (the war of women) in 1852; Gazelda in 1853, and the grandiose Armida in 1855.
In 1855 Pugni wrote L'toile de Grenade (The Star of Grenada), his first ballet for the choreographer Marius Petipa, who had served as an assistant to Jules Perrot and Premier danseur at the Imperial Theatre since his arrival in Russia in 1847. Petipa was fast becoming a celebrated choreographer in his own right, he turned the composition more and more.
In 1858 Perrot Pugni left Russia and was in need by both Petipa and Arthur Saint-Lon, who succeeded as Premier Perrot Matre the Ballet the St. Petersburg Imperial Theatres. The two choreographers, both gifted in their art and dramatically different in their respective approaches to the creation of the Grand Ballet were embroiled in a healthy and productive rivalry on the Imperial stage. Despite the differences between Saint-Lon and Petipa's style Cesare Pugni composed the music for nearly all of their work during the year 1860.
Later in life
Pugni unreliable when he started getting older, more severely depressed, drinking, gambling and leaving his family to represent themselves to show up at a time. As a result, found it increasingly difficult Petipa to music by him, and the quality of his work underwent a sharp decline. In his memoirs, quoted a Petipa Pugni letter written by him in 1860: I have tearfully ask you to send some money, I am without a sou. The letter also contained freshly assembled sections for Petipa's coming ballet Le Dahlia bleu (The Blue Dahlia). The opening night approached, and Petipa had received music of the composer in a piecemeal fashion. It became clear that Petipa had Pugni from scoring the more difficult and had them done last. By mid 1860, such situations were common.
In 1862, Pugni composed the music for Petipa's The Pharaoh's daughter, who in just six weeks before the Italian prima ballerina Carolina Rosati. The production was so successful that it won for Petipa the position of the Second Matre de Ballet. In 1864, Pugni composed the music for Saint-Lon's The Little Humpback Horse, who was so successful as the daughter of Pharaoh. Although he has received laurels for his score for Petipa's Pharaoh's daughter, Pugni the score for The Little Humpback Horse caused a sensation with the St. Petersburg balletomanes because it was seen as a tribute to the traditional music from Russia. The march entitled The Peoples of Russia of the last act of this ballet was a favorite of Tsar Alexander II (many of Pugni's marches were entr'actes therefore carried out at Imperial balls and diplomatic functions).
Vera Karalli as the Princess and Platon Aspicia Karsavin as the Pharaoh with unidentified children Pugni / Petipa The Pharaoh's Daughter. St. Petersburg, circa 1915
Despite such occasions of inspiration, Pugni nevertheless always unreliable. Enrico Cecchetti said in his memoirs Petipa was fond of telling how anecdotes Pugni in his old age, such an anecdote told of the many excuses for not delivering Pugni music in time: he once told me that Petipa his cat had scratched his hand, making him unable to hold his pen. On another occasion, Pugni came to the rehearsal without the required days of music, informing Petipa that he had no candles by which to write it. When Petipa arranged for a large box of candles Delivery Pugni's, the composer told him at rehearsal the next day that he required to write music as he was forced to sell candles to eat. Petipa was even forced to get someone to watch over the composer to ensure that any music would be prepared in time to hire. Despite these incidents, eight Pugni managed to compose new scores between 1865 and 1868 for the Imperial Ballet, but these were usually short-act play Divertissements and ballets.
Saint-Lon also had difficulty with the Pugni unreliable, and he began turning the music for ballet composer Ludwig Minkus. In 1865 Saint-Lon wrote to his friend Charles Nuitter:
Pugni almost deceased. He was found in the woods 16 versts from the city (St. Petersburg), as 300 rubles to traders. The Court Minister the amount paid, and a collection of the dancers of the company, which produced 200 rubles is need to feed him, his wife and eight children, five of whom were very young. He owes 5,800 rubles in all, while for the past twenty years he has 1,200 francs a month (the copyrights of scores performed in Paris), plus an allowance!
In 1868, Pugni composed the music for Petipa's colossal grand ballet Le Roi Candaule (King Candaules) that Herodotus's story of King Candaules told Lydia. This was to last full-length Pugni the score, but no less celebrated, because it caused a sensation at the balletomanes of the day and proved to be among the most durable Petipa's works.
Unknown to many, Petipa originally made plans to Pugni to compose music for his ballet Don Quixote, to be mounted at the Bolshoi Theatre in Moscow in 1869. But Pugni Petipa's irresponsibility soon forced to reconsider, and instead he turned to Ludwig Minkus (Don Quixote would prove to be one of the most celebrated and sustainable work both Petipa and Minkus' are). In the end, the score for Don Quixote only included a variety Pugni composed by: a waltz composed for the character Kitri in the final grand pas de deux de ballet.
Death
In the autumn of 1869 Pugni pulled together to score the music for Petipa's one act ballet Les Deux toiles (two stars). This score was widely regarded as one of his greatest works for the ballet, but it was also to be dependent on the deceased on January 26 [OS 14 January] 1870.
Cesare Pugni was buried Vyborgskaya in the Roman Catholic Cemetery St. Petersburg (the cemetery was completely destroyed in 1939). Pugni died in extreme poverty, and on his death his large family was destitute.
In honor of the composer, and a benefit performance for his family, was a gala prepared with fragments of many Pugni Petipa's works van in May 1870. Later that years, a revival of Petipa mounted Catarina, premiered on November 13 [OS November 1] in 1870, again as a benefit performance for the composer family. Petipa then presented Pugni's last work, Les Deux toiles, on February 11 [OS January 30] in 1869 for performance of the Imperial Ballet Premier danseur Pavel Gerdt. The ballet premiered a large success and was performed by the St. Petersburg ballet again until just before the Russian Revolution of 1917. Petipa also staged the work entitled Les Deux petites toiles (the two small stars) for the Ballet of the Moscow Imperial Bolshoi Theatre in 1878. The ballet was performed again for the company in a new version of the Balletmaster Clustine Ivan in 1897, a production which was held at the Bolshoi's repertory until 1925.
Descendants
Maestro Cesare Pugni. St. Petersburg, circa 1860
Many children went to Cesare Pugni noted artists in their own right. Pugni sons Albert and Victor played in the orchestra of the Imperial Theater in St. Petersurg the late 19th and early 20th centuries. The first one known cellist, and the second a flutist. Pugni son Nikolai danced in the corps de ballet of the Imperial Theatres from 1882 until his death in 1896.
There were many noted artists including Pugni's grandchildren and great grandchildren. Anny three of his granddaughters, Constance, and Lontinaerformed as dancers with the St. Petersburg Imperial Theatres. Lontina toured in Scandinavia with Anna Pavlova's company from 1908-1909 under the name Pouni. Pugni grandson Ivan Puni (Jean aka Pougny) was a famous avant-garde artist. Pugni's grandson, Michel Astroff violinist, was secretary of Sergei Prokofiev, while the composer lived in Paris, and later worked for various music publishers in France.
Pugni's most prominent descendant Alexander Shiryaev (18671941) that he was the son of the son of Victor and Pugni a dancer of the Imperial Ballet corps de ballet, Natalia Shiryaeva. Alexander Shiryaev was celebrated at a danseur, character dancer and ballet master of the St. Petersburg Imperial Theatres and the beginning of Soviet ballet, written reports of the Russian ballet has become During the late 19th and early 20th centuries are among the most valuable and celebrated of their kind. After the death of Lev Ivanov in 1901, Shiryaev served as assistant to Marius Petipa, and even staged the first Soviet production of The Nutcracker with Fyodor Lopukhov at the Mariinsky Theatre. Shiryaev was one of the first people ever to film ballet dancersany of these early films were prepared Late for the documentary premiere (still unreleased on DVD or video), and have been used to reconstruct lost dances (one of the most celebrated of these reconstructions was Marius Petipa's choreography for Petit Corsaire solo from the ballet Le Corsaire, put to music by the grandfather of Shiryaev's Pugni).
Published sheet music
Pugni's music began to be published as early as 1822 with his Sinfonia in D minor. Many pieces Pugni's symphonies and concertos were published by the Milan Publisher F. Lucca, often for the entire orchestra. Probably due to the enormous tunefulness of his music, ballets were beginning Pugni the scores of almost all published piano by both F. Gio Lucca and Ricordi, another music publisher in Milan.
Many ballets and incidental Pugni songs written for Her Majesty's Theatre in London was published in Piano reduction of the London-based music publishers Ch. Ollivier, Chappell & Co., and especially T. Boosey and Jullien. As Pugni ballets were staged by different companies around the Europen cities like Milan, Berlin and Vienna exampleany other music publishers began distributing his scores, often with additional songs by other composers.
As the copyright has expired Pugni music, the music publisher Jullien & Co. began publishing some of his dances from various ballets without the composer credit. Often the music, the creditworthiness of the composer as "composed by Jullien" or "traditional", usually under titles like the original or mazurka The original Canter, for example. Several waltzes, polkas, and various national dances Pugni ballets were often issued with detailed instructions on how to run of these dances, and the occasional ballet lithograph from which the number was won was included as artwork for the frontispiece. As time went on many of these pieces were sold to music publishers in Europe and the United States.
As Pugni's career took him to Russia, his ballets continued to be published in piano. Many St. Petersburg based publishers such as basil Denotkine, Ch. Stellowsky Bessell and got not only the original full-length ballets Pugni, but are additional dances for different works and adjustments to the scores of other composers.
Archives
An extensive archive of music Cesare Pugni can be found in the archives of the Conservatory of Paris, today included in the Music Department of Bibliothque Nationale de France. The Milan Conservatory has an extensive collection of early works Pugni's. Some manuscripts of the ballets van Perrot be held in the British Library, and the Paris Conservatoire.
Many of these ballets, along with most others Pugni composed in London and St. Petersburg were first published in piano reduction. De Bibliothque nationale de France has many complete scores of the ballets created for Pugni Arthur Saint-Lon, including the original orchestral parts for The Little Horse humped.
The largest archive of original scores Pugni was held in the archives of the St. Petersburg Central Discotheque, nearly every ballet Pugni wrote while in Russia (including revisions to other works created for other theaters abroad). Another archive of Pugni's work can be found in the Harvard University Library Theatre Collection, which contains the famous Sergeyev Collection.
Revivals and still works in the performance
The Little humpbacked horse
Students of the Universal Ballet Academy in the Danse des fresques Pugni of anime / Saint-Lon The Little Humpback Horse, Washington, DC, 2005
Saint-Lon's 1863 masterpiece The Little Humpback Horseor Pugni who wrote the scoreeft the active repertory of the Kirov / Mariinsky Ballet (formerly the Imperial Ballet) long ago, and today the work is only presented in a severely emasculated edition of the Vaganova Academy of Russian Ballet (school of the Kirov / Mariinsky Ballet). The school does not have the work done since 1989. Today only a few Russian companies include work in their active repertoryuch as Mussorgsky Ballet, the Novosibirsk Ballet and the Ballet of the Maly Theatre. This production mainly come Alexander Gorsky's 1912 revival of the ballet of the Bolshoi Theatre in Moscow.
Outside Russia, only the Universal Ballet Academy Washingtom DC, and the all-male company Les Ballets Trockadero de Monte Carlo perform excerpts from The Little Humpback Horsehe pas de trois, called The Ocean and the Pearls and the Danse des fresques anime (animated Danse frescoes).
Although credited to Pugni the music for the Ocean and the Pearls pas de trois is actually by Riccardo Drigo, and is drawn from his score for Marius Petipa's 1896 La Perle. The piece was added by Alexander Gorsky's early 20th century revivals of The Little Horse humped.
La Esmeralda
Full-length productions of the Perrot / Pugni La Esmeralda are only included in the repertoires of Russian companies. The Mussorgsky Ballet of St. Petersburg regularly perform this work in a production that was organized in 1981 by Nicolai Boyarchikovirector the Mussorgsky Ballet, Prima Ballerina and Tatiana Vecheslovaormer of the Kirov Ballet. SCORING Pugni for this production is a publication prepared by Riccardo Drigo Dating from 1886 and 1899as restored using a rptiteur used by the Imperial Ballet to before the Russian Revolution. In 1994, the company filmed their production of La Esmeralda. In 2005 the film was released on DVD, with the 3-hour production edited to just over 55 minutes.
Many companies around the world include several excerpts from La Esmeralda: called La Esmeralda Pas de six (the music for this piece is actually by Riccardo Drigo), and the La Esmeralda Pas de Deux.
The La Esmeralda Pas de deux
Maria Alexandrova Aspicia as the Princess in the Grand Pas d'action of the Bolshoi Ballet revival of Pugni / Petipa The Pharaoh's Daughter, Moscow, 2004
The La Esmeralda Pas de deux is a popular piece performed by companies throughout the world. It contains the famous Tambourine variation, which is often performed by many Ballerinas in dance competitions. The La Esmeralda Pas de Deux is mainly performed in a version of the choreographer Ben Stevenson staged in 1982 for the dancers Janie Parker and William Pizzuto performance at the International Ballet Competition in Jackson, Mississippi. Musically the piece is often attributed to Pugni and / or Riccardo Drigo.
The piece has its origins in Marius Petipa's 1899 revival of La Esmeralda, staged for the Ballerina Mathilde Kschessinskaya. For her performance Riccardo Drigo arranged a new Pas d'action. Typical of such pieces from the 19th century ballet, the music is a pastiche. The warehousing and Drigo's maxim his own compositions. The variation danced by Kschessinskayaoday often referred to as the tambourine variations from the score the composer Romualdo Marenco for Luigi Manzotti's 1876 ballet Sieba. De codaeing the only part of the document adopted by the Pugnis of the Marche du Pharaon from his score for Petipa's 1862 ballet The Pharaoh's Dauughter. When the dancer of the Kirov Ballet Vakhtang Chabukiani performed in the La Esmeralda Pas de deux in 1930, he added to original music score Pugni as a variant for himself. Today, the variation is preserved in the piece and remains popular with dancers.
Diane Acton and Pas de Deux
Cover story: Diane Acton and Pas de Deux
Dire Viva La Pas de Six
Main article: Viva La Dire
Pharaoh's daughter and Ondine
Eugeniia Obratzova as Ondine and Leonid Sarafanov Matto as the Grand Pas des naiads revival of the Kirov / Mariinsky Ballet Pugni / Perrot Ondine, St. Petersburg, 2006
In 2000, the choreographer Pierre Lacotte made a revival of the 1862 Pugni / Petipa ballet The Pharaoh's Daughter for the Bolshoi Ballet. Since the Mariinsky Theatre Lacotte denied access to Pugni the original estimate, he was forced required to piece together the music from different sources.
Lacotte in 2006 to a new version of the Pugni / Perrot Ondine ballet (also known as La Naade et le pcheur) for the Kirov / Mariinsky Ballet. For this new version, Lacotte using an orchestration of a violin rptiteur from the early 20th century that was used for the Imperial Ballet production. Although not mentioned, the score that added a few songs by other composers in the late 19th century. Lacotte also used songs from the original publication Pugni the score from 1843.
Both works were choreographed by Lacotte "in the style of the era with Pharaoh's daughter with four dances from Petipa's own staging, a some of which were reconstructed from the Stepanov Choreographic Notation from the Sergeyev Collection.
Pas de Quatre
In the west (particularly in North America) of the average balletomane will probably only encounter Pugni's Pas de Quatre (revived by Anton Dolin, 1941), originally staged in 1845 by Perrot at Her Majesty's Theatre. It is the most frequently performed work of all Pugni's output, although the music is typically presented in a reorchestration by Leighton Lucas. The original orchestral parts of the Pas de Quatre are now housed in the Bibliothque Nationale de France.
Le Corsaire
Modern productions of the ballet Le Corsaire contain a significant amount of additional music by Pugni added to the score for Marius Petipa's many revivals of the work. Petipa's productions of Le Corsaire, as performed in St. Petersburg credited to both the score and Pugni Adolphe Adam, in the light of these important extra material. The Bolshoi Ballet in 2007 the production of additional fixes many Pugni's music.
Catarina
On May 11, 2007, the Balletto di Teatro dell'Opera di Roma in Rome, Italy presented a revival of Jules Perrot's 1846 ballet and Cesare Pugni Catarina, ou La Fille du Bandit. The production was staged in two acts by the choreographer Fredy Franzutti Gaia Straccamore the ballerina in the title role.
Works
Symphonies
Sinfonia (1809. Cesare Pugni's first composition at age seven)
Sinfonia in D minor: In morte di Giacomo Zucchi (Milan, 1822)
Sinfonia in E minor (composed for the private concert of Borromeo)
Sinfonia in F major (composed for the Committee of Borromeo)
Sinfonia in D major (1826. Composed for the private concert by Carlo Rota)
Sinfonia in D major aka Sinfonia per una o by Orchestra, Sinfonia or a cnone (La Scala, c. 1830. "Dedicated to the celebrated Maestro Alessandro Rola)
Sinfonia in E major (Milan, c. 1830. "Dedicated to Bono Fazio Asioli)
Sinfonia in A minor: L'ultima di un ora per condannato Opinione (La Scala, ca 18261833)
Sinfonia in three movements (Villa Borghese, St. Petersburg, July 22 [OS July 10] in 1855. Musically poem or symphony program)
Chamber Music
Divertimento solitario per violino (Milan, 1820)
Divertimento for flute flauto solitario (Milan, 1821)
Quartetto per clarinetto, violino, viola e violoncello in B flat (Milan, c. 1824. "Dedicated to the genius delettante Vincenzo Comolli")
Quartetto per clarinetto, violino, viola e violoncello in A minor (Milan, c. 1825. "Devoted the genius delettante Vincenzo Comolli ")
Quartetto per flauto flute, piano, viola, e violoncello in A minor (Milan, c. 1825. "Dedicated to Signor Conte Don Luigi Bertoglio dilettante ")
Quartetto per flauto flute, corno Inglese, violino, e pianoforte in B flat major ("expressly composed for Ill Signor Dilettante G. Castello)
Quartetto per clarinetto, violino, viola e violoncello in E flat major (Milan. dedicated to the musical genius of the dilettante and chartered accountant Vincenzo Comm Olli ")
Petit Trio per pianoforte, violino and cello in C major (St. Petersburg, circa 1870)
Serenata per obbligata viola in C minor, accompanied by half viola, violin and cello
Serenata per obbligata viola in D major, accompanied by half viola, violin and cello (Milan. "dedicated to Il Conte Giulio Barb)
Serenata per flauto flute, corno Inglese, clarinetto by Corno, e fagotto result in E major (Milan. "Dedicated to the famous Signor Maestro B. Asioli)
Ottavino per flauto flute, oboe, fagotto, due violino, viola, cello, in F major e contrabbasso
Terzettino per due violino e viola in G major (Milan. "dedicated to Signor Giuseppe Rossi)
Polka-Redowa per violino: Il Carnevale di Milano in A major (Milan, c. 1845)
Religious Music
Mass for two tenors and a bass, violin, English horn, three violas, two cellos and a bass (Milan, 1827)
Ground for large vocal and orchestral arrangement (Correggio, 1831. This piece was recorded in a contest for a concert to celebrate the anniversary of the great violinist Bono Fazio Asioli which Pugni against the works of Donizetti and Mercadante)
Mass for solo tenor, different basses, and the chorus of La Scala (Bologna, Basilica di Santa Maria dei Servi, c. 1832ovember October 1833)
Kyrie e Gloria
Messa e Kyrie e Gloria for three soloists, choir and orchestra
Magnificat in E major for two tenors, two basses and orchestra
Cover picture of the piano from the opera Il Pugni Disertore Svizzero, edited by F. Lucca. Milan, circa 1830
Operas
Il Disertore Svizzero, Ossia La Nostalgia (melodramma semi serio in 2 acts. Libretto by Felice Romani). La Canobbiana, Milan. 28 May 1831. Dedicated "A Sua Eccelenza Il Signor Duca di Carlo Visconti Modron.
La Vendetta (melodramma tragico in 2 acts. Libretto by Callisto Bassi). La Scala, Milan. February 11, 1832.
Arda Ricci di Edimburgo (melodramma serio in 2 acts. Libretto by Callisto Bassi). Teatro Grande, Trieste. September 29, 1832.
L'Imboscata adjustment for the revival of the original work of Weigl Thaddus. (Melodrama buffo in 3 acts. Libretto by Luigi Romanelli). La Cannobiana, Milan. April 3, 1833.
Il Carrozzino da vendere (melodramma buffo in 1 act. Libretto by Callisto Bassi. Cannobiana La, Milan. June 29, 1833. Pugni's cantata Inno alla beneficenza was first performed on the same invoice and the premiere of this work.
Il Contrabbandiere (melodramma buffo in 2 acts. Libretto by Felice Romani). La Canobbiana, Milan. June 13, 1833.
Episodio di un San Michele (melodramma giocoso in 2 acts. Libretto by Felice Romani). La Canobbiana, Milan. June 14, 1834.
Cantanas
Ai Passi erranti (writer unknown)
Untitled, compound for Ennio Pouchard and MSR. Serda (Lyricist unknown). Casino Paganini, Paris. November 25, 1837.
La Toussaint (Lyrics by Joseph MRY). Originally composed ceremonies for the inauguration of the Casino Paganini.
Inno alla beneficenza (Lyrics by Felice Romani). La Scala, Milan. June 29, 1833. First performed on the same invoice as the premiere of the opera Il Pugni Carrozzino the Vendere.
Lyrical Ode (Lyrics by John Oxenford). Her Majesty's Theatre, London. February 25, 1847. Carried by Sanchioli Gardoni Bouch occasion of the show "On behalf of the fund for the relief of the ailing Irish and Scots"
Ballets
La Scala, Milan
Ill Castello di Kenilworth. Choreography by Gaetano Gioja. April 26, 1825.
Elerz e Zulmida. Choreography by Louis Henri. May 6, 1826.
L'Assedio di Calais. Choreography by L. Henri. February 15, 1827.
Pelia e Mileto. Choreography by Salvatore Taglioni. May 28, 1827.
Thurs Eutichio della Castagna, Ossia La Casa disabitata. Choreography S. Taglioni. August 16, 1827.
Agamennone. Choreography by Giovanni Galzerani. September 1, 1828.
Adelaide di Francia. Choreography by L. Henri. December 26, 1829.
Macbeth. Choreography L. Henri. February 20, 1830.
William tell. Choreography by L. Henri. February 20, 1833.
Monsieur de Chalumeaux. Choreography by G. Galzerani. January 14, 1834.
Her Majesty's Theatre, London
Cover picture of a published piano reduction of the rolls taken from the score for Paul Taglioni Pugni Les Plaisirs de l'hiver, ou Les Patineurs. Posted by Jullien in London, 1848
Lithography by J. Bouvier of Carlotta Grisi and Jules Perrot performing La Polka. London, 1844
L'Aurore. Choreography by Jules Perrot. March 11, 1843.
Les Houris. Choreography by J. Perrot. April 27, 1843.
Ondine, ou la Naade. Choreography by J. Perrot and Fanny Cerrito (for the Pas de six). 22 June 1843.
Hamlet. Choreography by J. Perrot. 1843 never premiered.
Le Dlire d'un peintre. Choreography by J. Perrot. August 3, 1843.
La Esmeralda. Choreography J. Perrot. March 9, 1844.
Myrtelde, ou La Nymphe et le papillon. Choreography by J. Perrot. 1844 never premiered.
La Polka (occasional dance). Choreography by J. Perrot. April 11, 1844.
Viva La Dire. Choreography by Arthur Saint-Lon. May 23, 1844.
Zlia, or La Nymphe de Diane. Choreography by J. Perrot. June 25, 1844.
Paysanne La Grande Dame. Choreography by J. Perrot. July 25, 1844.
Jeanne d'Arc. Choreography by J. Perrot. 1844 never premiered.
Oline, ou La Dryade. Choreography by J. Perrot. March 8 1845.
Kaya, ou L'amour Voyageur. Choreography by J. Perrot. April 17, 1845.
La Bacchante. Choreography by J. Perrot. May 1, 1845.
Rosida, ou Les Mines de Syracuse. Choreography by A. Saint-Lon and F. Cerrito. May 29, 1845.
Pas de Quatre (divertissement). Choreography by J. Perrot. July 12, 1845.
Diane. Choreography by J. Perrot. July 24, 1845.
Catarina or La Fille du Bandit. Choreography by J. Perrot. March 3, 1846.
Lalla Rookh. Choreography by J. Perrot. June 11, 1846. The music for the second and third scenes passages Flicien based on David's 1844 oratorio Le dsert.
Enclose the Le Paris. Choreography by Perrot. July 23, 1846.
Coralia, ou Le Chevalier unstable. Choreography by Paul Taglioni. February 16, 1847.
Mphistophla. Choreography by P. Taglioni. 1847 never premiered.
Tha, ou Le Fe aux Fleurs. Choreography by P. Taglioni. March 18, 1847.
Orinthia, ou Le Camp des Amazones. Choreography by P. Taglioni. April 15, 1847.
Lesson Element. Choreography by J. Perrot. June 26, 1847. Music jointly composed by Giovanni Bajetti.
Fiorita et la Reine des elfrides. Choreography by P. Taglioni. February 19, 1848.
Les Quatre Saisons. Choreography by J. Perrot. June 13, 1848.
Electra, ou La Pliade perdue. Choreography by P. Taglioni. April 17, 1849.
La Prima Ballerina, ou L'embuscade. Choreography by P. Taglioni. June 14, 1849.
Les Plaisirs de l'hiver, ou Les Patineurs. Choreography by P. Taglioni. July 5, 1848.
Les Mtamorphoses (also known as Satan Ella). Choreography by P. Taglioni. March 12, 1850.
Les Graces. Choreography by P. Taglioni. May 2, 1850.
Les Dlices du srail. Choreography by Franois Louis Gosselin. July 15, 1850.
The Paris Opra
La Fille the Marbré (revival of Perrot's Alma). Choreography by A. Saint-Lon. Music by Michael Costa, adapted by Pugni. October 20, 1847.
Viva La Dire (generation). Choreography by A. Saint-Lon with Pugni adaptation of his original score. October 20 1848.
Le Violon du Diable (new version of Saint-Lon's Tartini il Violinista, originally staged for the Teatro La Fenice in Venice on February 29, 1848 with music by Saint-Lon (cadenzas for the violin) and Giovanni Felis). Choreography by A. Saint-Lon, with adjustment Pugni Felis and Saint-Lon-score. January 19, 1849.
Stella, ou Les Contre Band Irish. Choreography by A. Saint-Lon. February 22, 1850.
Le March des Innocents (revival of Le Parisien des March). Choreography by Marius Petipa and Lucien Petipa. May 29, 1861.
Diavolina (Revival of Graziela, ou Les amoureux Dpits). Choreography by A. Saint-Lon. July 6, 1863. Pugni uses a suite of traditional Neapolitan broadcast called Passa Tempi Musicali voor this score and the composer Chasse aux Hirondelles by Maximilien Graziani.
Works for other theaters
Le Fucine di Norvegia (5 actions). Choreography by Giacomo Piglia. Teatro Ducale, Parma. December 26, 1826.
La Dernire Heure d'un condamn. Choreography by L. Henry. Thtre Nautique in Paris. Approximately 18,341,835.
La Ricompensa dell'Amore spontaneo. Choreography by G. Galzerani. Unknown Theater, Paris. C. 18301835.
Liacone. Choreography by L. Henry. Teatro di San Carlo, Naples. September 4, 1836.
Zeffiro Thurs. Choreography A. Saint-Lon. Thtre Italien, Paris. April 26, 1865.
Gli Elementi. Choreography by A. Saint-Lon. Thtre Italien, Paris. February 19, 1866.
Kamenny Imperial Bolshoi Theatre, St. Petersburg
Photographed as the Princess Mathilde Kschessinskaya Aspicia in the Pas de flche Pugni / Petipa The Pharaoh's Daughter. St. Petersburg, 1898
Lubov Egorova in the title role of Pugni / Petipa The Blue Dahlia. St. Petersburg, 1905
La Guerre des femmes, ou Les Amazones du siècle neuvime. Choreography by J. Perrot. 23 November [OS 11 November] 1852.
Gazelda, ou Les Tziganes. Choreography by J. Perrot. 24 February [OS 12 February] 1853.
Mark Bomba (also known as El Marco Bomba). Choreography by J. Perrot, M. Petipa and J. Petipa. December 5 [OS November 23] 1854.
Armida. Choreography by J. Perrot. November 20 [OS November 8] in 1855.
La Dbutante. Choreography by J. Perrot. January 29 [OS 17 January] 1857. Pugni regularly airs this score from his 1850 adaptation of Adolphe Adam's score Perrot's La Filleule des Fes (enacted as L'Elves des Fes in 1850), and his 1852 adaptation of Jean-Baptiste Edouard Deldevez Tolbecque's score Mazilier's Vert-Vert.
La Petite marchande bouquets. Choreography J. and M. Perrot Petipa. February 19 [OS February 7] in 1857.
L'Ile des Muets. Choreography by J. Perrot. Music by Pugni and Thodore Labarre. February 19 [OS February 7] in 1857.
Un Mariage sous la Rgence. Choreography by M. Petipa. December 30 [OS December18] 1858.
Le Parisien des March (also known as Le March des innocents). Choreography by Petipa M.. 5 May [OS 23 April] 1859.
Le Dahlia bleu. Choreography by M. Petipa. 12 May [OS 30 April] 1860.
Graziela, ou Les amoureux Dpits (also known as Graziella, ou la Querelle amoureuse). Choreography by A. Saint-Lon. December 23 [OS 11 December] 1860.
Les Nymphes et le satire. Choreography by A. Saint-Lon. September 15 [OS September 3] in 1861.
The Pharaoh's Daughter. Choreography by M. Petipa. 30 January [OS 18 January] 1862.
La Belle du Liban, ou l'Esprit des Montagnes. Choreography by M. Petipa. December 24 [OS 12 December] 1863.
The Little humpbacked horse (also known as La Tsar-Demoiselle). Choreography by A. Saint-Lon. December 15 [OS December 3] 1864.
Florida. Choreography M. Petipa. 1 February [OS 20 January] 1866.
Le Roi Candaule (also known as Tsar Kandavl). Choreography by M. Petipa. 29 October [OS 17 October] 1868.
Les Deux toiles (also known as Les Deux petites toiles toiles or). Choreography by M. Petipa. 11 February [OS 30 January] 1869.
Other places in Russia
L'toile de Grenade. Choreography M. van Petipa. Palace of the Grand Duchess Elena Pavlovna. January 21 [OS 9 January] 1855.
Terpsichore. Choreography by M. Petipa. Imperial Theatre of Tsarskoe Selo. 27 November [OS 15 November] 1861.
Titania. Choreography by M. Petipa. Palace of the Grand Duchess Elena Pavlovna. 30 November [OS 18 November] 1866.
L'Amour bienfaiteur. Choreography M. Petipa. Theatre of the Imperial Ballet School. March 18 [OS March 6] 1868.
L'esclave. Choreography by M. Petipa. Imperial Theatre of the Hermitage. 9 May [OS 27 April] 1868.
Expanded editions of his work for the Bolshoi Kamenny Imperial Theatre, St. Petersburg
Le peintre du RVE (revival of Le Dlire d'un peintre). Choreography J. Perrot. 19 October [OS 31 October] 1848.
La Esmeralda. Choreography by J. Perrot, Marius Petipa and F. Elssler. 2 January [OS 21 December 1848] 1849.
La Naade et le pcheur (revival of Ondine, ou La Naade). Choreography by J. Perrot. 11 February [OS 30 January] 1851.
Enclose the Le Paris. Choreography by J. Perrot. February 18 [OS February 6] 1851.
Markitenka (Viva La Revival Dire). Choreography by J. Perrot after A. Saint-Lon. December 25 [OS 13 December] 1855.
La fille de marbre (revival of Alma). Choreography J. Perrot. Music by M. Costa. February 19 [OS February 7] in 1856.
Oline, ou la Dryade. Choreography by J. Perrot. November 16 [OS November 4] 1858.
La danseuse en voyage (Revival of La Prima Ballerina, ou L'embuscade). Choreography by Marius Petipa. November 16 [OS November 4] 1864.
Adjustments to the scores of other composers Kamenny Imperial Bolshoi Theatre, St. Petersburg
Lda Laitire ou la Suisse. Choreography by J. Perrot, M. Petipa and Jean Petipa after Filippo Taglioni. Music by Adalbert and Gyrowetz Michele Carafa. December 20 [OS December 8] 1849.
L'Elbe des Fes (revival of La Filleule des FES). Choreography by J. Perrot. Music by Adolphe Adam and Clmence, Comte de Saint-Julien. 24 February [OS 12 February] 1850.
La Femme Capricieuse (revival of Le Diable Quatre). Choreography by J. After J. Perrot Mazilier. Music by Adolphe Adam. November 26 [OS 14 November] 1850.
La Belle flamande (revival of La Jolie Fille du Gand). Choreography by J. Mazilier after Albert Decomb. Music by Adolphe Adam. 5 November [OS 25 October] 1851.
Vert-Vert. Choreography by Joseph Mazilier. Music by Jean-Baptiste Edouard Deldevez Tolbecque. January 20 [OS January 8] 1852.
Faust. Choreography by J. Perrot. Music Giacomo Panizza. February 14 [OS February 2] in 1854.
Le Corsaire. Choreography by J. and M. Petipa after J. Perrot Mazilier. Music by Adolphe Adam. 24 January [OS 12 January] 1858.
Robert et Bertrand, ou Les Deux voleurs. Choreography by Felix Kschessinsky after Franois Hoguet. Music by Herman Schmidt. 11 May [OS 25 April] 1858.
Jovita, ou Les Boucaniers Mexican. Choreography by A. Saint-Lon to J. Mazilier. Music by Thodore Labarre. September 27 [OS September 15] 1859.
Saltarello, ou La Dansomanie. Choreography by A. Saint-Lon. Music Arthur Saint-Lon. 20 October [OS 8 October] 1859.
La Somnambule, ou L'Arrive d'un nouveau seigneur. Choreography by M. Petipa Jean-Pierre Aumer. Music by Ferdinand Hrold. December 21 [OS 19 December] 1859.
Pquerette. Choreography by A. Saint-Lon. Music Franois Benoist. January 28 [OS 9 February] 1860.
La Perle de Sville. Choreography A. Saint-Lon. Music by Santos Pinto. 5 February [OS 24 January] 1861.
Mtora, ou Les toiles the Grandville. Choreography by A. Saint-Lon. Music by Santos Pinto. 7 March [OS 23 February] 1861.
Tholinda l'Orphelins (revival of Le Lutin de la Valle) Choreography by A. Saint-Lon. Music by Eugne Gautier. December 18 [OS December 6] 1862.
Satan Ella (revival of Le Diable amoureux). Choreography by M. Petipa after Joseph Mazilier. Music by Henri Reber Napolon and Franois Benoist. 30 October [OS 18 October] 1866.
La Basilica. Choreography by A. Saint-Lon. Music by Massimiliano Graziani. February 16 [OS February 4] 1869.
Original work produced Pugni's music without his direct involvement
Satan Ella (revival of Les Mtamorphoses). Choreography by P. Taglioni. Music review by Peter-Ludwig Hertel, adapted by Pugni. Judge Opera Ballet, Berlin. April 28, 1852.
Zolo. Choreography by Pasquale Borri. Pastiche created by an unknown hand from the skies of Pugni. Teatro di San Carlo, Naples. Circa 1852.
Lucilla. Choreography by P. Borri. Pastiche by Paolo Giorza the skies of Pugni. Teatro La Fenice in Venice. Circa 1855-1856.
Les Espigles de l'Amour (also known as Cupid's Prank). Choreography by Lev Ivanov. Score by Alexander Friedman, with additional material from the works of Pugni. 23 November [OS 11 November] 1890.
Les Dryades prtendues (also known as the False Dryads). Choreography Pavel Gerdt. Music adapted by Riccardo Drigo's score Pugni voor Perrot's Oline, ou La Dryade as well as additional songs from the works of Ludwig Minkus. Imperial Theater Russian Museum of His Imperial Majesty Alexander III. April 23 [OS April 11] in 1899.
Resources
Beaumont, Cyril W. Complete Book of Ballets.
Bolshoi Ballet. Program Pharaoh's Daughter. Bolshoi Theatre, 2001.
Edgecombe, Rodney Stenning. Cesare Pugni, Marius Petipa and 19th century ballet music. Musical Times, Summer 2006.
Kirov / Mariinsky Ballet. Program of Ondine. Mariinsky Theatre, 2006.
Petipa, Marius. The Diaries of Marius Petipa. Trans. and Ed. Lynn Garafola. Published in Studies in dance history – 3.1 (Spring 1992).
Guest, Ivor Forbes. Cesare Pugni: a plea for justice. Published in Dance Research – Vol. 1, no. 1, p. 3038
Guest, Ivor Forbes, ed. Letters from a Balletmaster – The Correspondence of Arthur Saint-Lon
Sidney-Fryer, Donald (unpublished, no publication date announced), The Case of the Light Fantastic Toe: The Romantic Ballet and Signor Maestro Cesare Pugni.
Wiley, Roland John. Dances from Russia: An Introduction to the Sergeyev Collection Published in the Harvard Library Bulletin – January 1976 24.1.
Wiley, Roland John, Ed. and translator. A Century of Russian Ballet: Documents and Eyewitness Accounts 1810-1910.
External links
Free scores by Cesare Pugni in International Music Score Library Project
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Categories: 1802 births | 1870 deaths | Italian composers | Romantic composers | Russian ballet | Ballet composers | Academics of the St. Petersburg Conservatory | People from Genoa (city) Hidden categories: Articles containing Russian language text About the Author

I am Frbiz Site writer, reports some information about flicker flame bulb , flower fairy lights.

What should I wear to this dance?

Which skirt (it is semi-formal … im a freshman, btw) http://image.become.com/imageserver/s3/632829548-75-75-5-0/old-navy-tiered-skirts.jpg http:/ / www.kohls.com / kohl store / womens / skirts / dresses / PRD ~ + 435188/Simply Vera Vera Wang + + + + Pleated Skirt.jsp http://www.feeling-flirtatious.co.uk/acatalog / black polka . jpg (This isn't exaclty the same skirt, but are quite similar) http://www.kohls.com/kohlsStore/womens/petites/skirts/PRD 442418/Chaps ~ + + + Flowers Sateen Skirt.jsp And what shirt I wear with it? Thanks! Oh, and I will be fine with black ballerinas? Thanks! Its the middle of winter. I'm not going to a tiny skirt to wear, let alone a one HOLLISTER. ew.

the latter with a cute black top

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